In this study we analyze critically and globally the reception and circulation of instrumental musical sources—especially keyboard music—of composers who worked in Valencian institutions between the eighteenth and nineteenth centuries. We present additional little known sources—mainly localized in the Royal College Seminary of Corpus Christi in Valencia—and bring some ideas about the possible origin of them. This hypothesis highlights the importance of peripheral institutions and musicians and show the wide and diverse network of connections. Some of the studied manuscripts are miscellaneous and contain fugues, pasos, preludios, recercadas, salmodias, sonatas and versos, in addition to vocal works. The sources contain pieces of little-­‐known composers who worked in Valencian area and other anonymous. Several pieces are from foreign composers almost all related with the Royal Chapel in Madrid and Tortosa cathedral. We also include notices about little known sources preserved in Morella and Villarreal in Castellón and the limited news available on chamber music in order to present an overview of the instrumental music of the period. The most important goals of this study are to expand the research about the circulation and reception of instrumental repertory composed and performed in Valencia during the selected period, to assess theirpresence in the Iberian context, and to provide source material for pedagogical uses.

La creación de una base de datos toponímica georreferenciada permite el conocimiento detallado de los diferentes lugares de un territorio, una riqueza cultural que posibilita que nombres de parajes, caminos, fuentes, cuevas y otros microtopónimos perduren en el lugar y en el tiempo. La aplicación para la creación de nomenclátores toponímicos permite crear y mantener la toponimia mayor y menor de un territorio. De la aplicación destaca, por un lado, su sencillez a la hora de trabajar con las herramientas personalizadas, y por otro, los mínimos requisitos a nivel de programas informáticos, ya que solamente es necesario un navegador web y un punto de conexión a internet. Como experiencia piloto, se está creando el Nomenclátor de la Comunitat Valenciana y a fecha del presente artículo ya se han introducido más de 100.000 topónimos en la base de datos.

La composición ancestral del Iudicii signum, heredera del préstamo melódico de las Cantigas de Santa María de Alfonso X el Sabio, es una melodía puesta en boca de la Sibila Eritrea que se solía cantar al final de la última lección de los maitines de Nochebuena hasta que se suprimió su arraigada interpretación después de las reformas litúrgicas surgidas del Concilio de Trento. Tal vez la tradición de la Sibila valenciana tuviese influencias de la castellana, especialmente de la de Toledo, en donde se cantaba la Sibila por un seise vestido de mujer, con un traje de mangas pendidas, ricamente bordado al gusto oriental. Incluso se podría vincular su melodía e interpretación a la versión mallorquina, una vez conocidas las circunstancias que llevaron a su restauración, poco después del Concilio de Trento (1545-1563), cuando Diego Arnedo, obispo de Mallorca, prohibió en 1572 su ejecución, recuperándose en 1575 según indicaciones del nuevo obispo mallorquín Joan Vich, que era de Valencia. Muchas han sido las aportaciones de estudiosos del tema desde inicios del siglo XIX, partiendo de las descripciones del Padre Villanueva, pero pocas las aproximaciones reales a las fuentes primarias, tan necesarias en este momento para poder tener una visión real de lo que sabemos o no de la Sibila en la Catedral de Valencia, al mismo tiempo que para plantear nuevas propuestas de investigación sobre la misma desde el conocimiento de las fuentes que se citan en este artículo. The Iudicii Signum melody, melodic loan heiress of the Cantigas de Santa Maria of Alfonso X the Wise, is an ancient composition, put into the mouth of the Sibyl Eritrea, which used to be sung at the end of the last lesson of Matins of Christmas Eve suppressed until their entrenched interpretation following the liturgical reforms arising from the Council of Trent. Perhaps the tradition of the Valencian Sibyl had Spanish influences, especially from Toledo, where the Sibyl sung by choirboy women dress, sleeveless dress with a pended, richly embroidered oriental taste. You could even link your melody and interpretation Mallorcan version, once known the circumstances that led to its restoration, shortly after the Council of Trent (1545-1563), when Diego Arnedo, Bishop of Mallorca, in 1572 banned execution, recovering in 1575 as the new bishop indications Spaniard Joan Vich, it was from Valencia. Many have been the contributions of scholars from the early nineteenth century, based on the descriptions of Villanueva, but few real approaches to primary sources, so necessary at this time to give a true picture of what we know or not of the Sibyl in the Cathedral of Valencia, while proposals to raise new research on it from knowledge of the sources cited in this article.

There is a long tradition of compiling information about Valencian authors and their works written in Valencian language. Nevertheless, the conflict on the codification and language planning of Valencian and the peculiar circumstances that surround it makes it difficult to determine the number of actual books written in the spelling and grammatical norms as set by the Royal Academy of Valencian Culture (Real Acadèmia de Cultura Valenciana, RACV) since 1979, that have become a basic reference for the distinctive-valencianism movement. After 25 year of the proclamation of these linguistic norms also known as "Normes d'El Puig", the author has developed a new bibliographic database that incorporates all books published following these norms and provides interesting results. 656 publications are identified (without periodicals) and are written by 283 authors, of which 219 are modern ones. 106 authors only have one publication written in this linguistic normative. The editions embrace several matters, with 19 novels and solely 12% of linguistic works. The bulk of the works produced (61,4%) are concentrated in the decade that is from 1992 to 2001. In 2001,we then see a decrease that coincides with the creation of the Valencian Academy of the Language (Acadèmia Valenciana de la Llengua, AVL), the official normative institution for the Valencian language. The publishing figures of 2004 fall back to the low production levels of 1982.